By Anne Fuchs (auth.)
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Extra info for After the Dresden Bombing: Pathways of Memory, 1945 to the Present
Icons of Germany’s depravity Images of Germany’s moral and physical ruination came into quick circulation after the end of the war. Allied photographers accompanying the troops documented the liberation of the concentration camps in shocking images that were quickly circulated across the globe. A new level of explicitness was achieved through these photographs. They showed close-ups of mass graves, where bodies had been carelessly discarded, piles of dead bodies and images of emaciated survivors, staring from their overcrowded bunk beds into the camera.
Turning to recent documentaries about the bombing of Dresden, I then explore the 20 After the Dresden Bombing re-fashioning of the memory of this event in the public domain since unification. Against the backdrop of the German victim discourse of the late 1990s I ask what kind of historical interpretation recent docudramas promote. Emotionally charged, they break with the discourse of contrition that dominated West German memory from the late 1960s. However, they also eschew a one-sided victim discourse by adopting a transgenerational perspective that places the story of German suffering within a European or even global framework.
Dix, who had returned to Dresden after the war, cofounded the Dresdner Sezession with Conrad Felixmüller and others in 1919. 47 Cultivating the image of the lonely artist, his works were nevertheless regularly exhibited, and from the early 1920s he began to build up a reputation as a prominent woodcutter. 48 In 1932 he was appointed to teach at the Dresden Art Academy. In 1931 he briefly joined the National Socialist party but left the party one year later. In 1933 he tried to rejoin for opportunistic reasons but his application was declared inadmissible.